The Coming Global Story Mind

As described in my previous article, Birth of a Story Mindwhen  people gather in groups, they self-organize into a group mind in which each individual specializes in one of our mental functions, such as becoming the voice of reason for the group, or the skeptic, or the conscience of the group.  These functions are both cognitive and affective, and for the group mind to form, is must have all of those function at work within it.

In a large population of individuals, many group minds will naturally form as the anarchy begins to settle into organization.  When group minds encounter one another as they move through the population, some will collide and shatter, some will maintain their identity but have their course altered by the encounter and focus on other subject matter, and some will combine to form larger group minds in which each smaller group begins to specialize to focus on one of our mental functions.

So, one group will come to express (or represent) the voice of reason within the larger group, while another will express skepticism, and still other will function as the larger group’s conscience.  Just because a whole smaller group begins to focus or center on reason, as an example, does not mean that it stops having its own voice of reason with it, and its own skeptic and conscience.  Rather, these individuals in the smaller group will still function as the voice of reason within the reason group, while another individual will still function as the skeptic in regard to reason.

In essence, one might say that as a small group specializes within a larger group, the members of the smaller group move with it, maintaining their relative positions within the small group as they all be come consistently biased toward the new thrust of their small group within the larger group.  In other words, the individuals take on the flavor of their group as it evolves as a member group of a larger group mind.

This process is not unlike how solar systems form, gathering aggregate from dust to form small particles that combine into larger particles, rocks, boulders, and so on.  It is also not unlike the way the brain works insofar as neurons in the brain (individuals) gather together into ganglia (little neural networks of a few thousand cells), which then gather into clusters and ultimately into the hemispheres of the overall brain

Like in a solar system, loose gas and dust gathers at the center of this evolving organization until the planets, story archetypes or social groups revolve around it.  Eventually, this gravitational center reaches a critical mass and becomes a star, the Main Character for a story, or the identity of a social group.

When people feel they are members of a tribe, not just of their families, or of their state or nation, not just of their county or neighborhood, it is an primary indicator that one or more larger group minds above them has reached a critical mass and is burning with an energy from which they draw.  In our own minds, this is our self awareness, the “I” in “I think, therefore I am.”

In the brain, the creation of such an identity requires a sufficient number of levels in the hierarchy – neural networks within neural networks, sub-minds and proto-minds within larger minds, following the same physical pattern as the story mind psychology, because the psychology is just a dynamic resonance of the underlying structural (physical) system that spawns and maintains it.

The cognitive functions are driven by the binary firing of the neurons.  The affective functions are driven by the flow of neurotransmitters through the fluid-dynamic system of the brain.  Note that neurons don’t just fire when stimulated.  They fire with the electrical potential between the inside and outside of the neuron’s body (the axon) reaches an action potential of a certain differential.

This potential can be created by sufficient direct stimulation through spatial summation (multiple small stimulations all at once) or by temporal summation (a series of small stimulations that collectively increase the charge faster than the neuron can shed the excess through natural half-life style decay).

But this is just half the system – the binary network of neurons within larger networks, which are components within even larger networks.  The other influence is the biochemical dynamic in which neurotransmitters affect the likelihood of firing.

Normally, neurons such as exciters and inhibitors are spewed out by one neuron’s boutons to be received by another neuron’s dedrites which pass the information to the axon which then may fire if it has received enough information either spatially or temporally.

But not all of these exciters and inhibitors actually make it from the boutons to the dendrites for they must cross a biochemical ocean – a small gap between the physical end of one neuron and the beginning of another.  This gap is called a synapse and it holds one of the two keys to self awareness.

As some of these biochemicals drift out of the synapse into the general population of the brain at large, they form currents and eddies and standing waves of varying duration and complexity.  These patterns also hold information, not of the binary cognitive kind, but of the analog affective kind.

When a wave forms at a particular synapse, it is may be more biased toward excitement or inhibition, depending upon its chemical make-up which is in turn determined by the collective impact of sensory stimulation of neurons which had previously fired.

These waves (really just concentration densities of chemicals) are also built from the shedding of potential from neurons that do not fire because they did not reach their action potential threshold.

Functionally, these concentrations can further moderate the effects of spatial and temporal summation so that a neuron which would ordinarily fire due solely to binary network stimulation by not fire because the surrounding biochemical environment lowers the action potential around the axon to the point it is inhibited below the threshold.  Similarly, a neuron which normally would not fire, may do so anyway, because the biochemical environment about it increases the action potential beyond the threshold.

If the point of origin for network stimulation is observation, then the energy produced by the natural decay of neurons which don’t reach threshold is a parallel for internal thought.  Along these lines, chemicals that act to excite can be analogized as our desires, and those that inhibit as our repulsions.

Now this is actually not directly true, for at the level of the whole mind / whole brain, desires and repulsions may be created by either exciting or inhibiting, thereby creating an inequity, which may be positive or negative to the mind at large in an affective sense.  But I used those words to illustrate the fractal similarity of the lower brain function to the higher level psychology, in the first belief that while there are certainly many levels of similar organization in between, the end result is that the lower level functions are fractally layered until they influentially affect larger and larger systems, resulting ultimately in both our cognitive and affective attributes being organized in virtually the same pattern of relationships as the smallest components at the very bottom of the hierarchy.

Now, add this to the solar system model and the fractal psychology model of the organization of group minds and you can begin to get a sense how there is a parallel between a sun beginning to shine, a Main Character representing our own sense of self in a story mind structure, and groups forming and self-organizing into larger groups.

The general population that does not become part of a group is part of the gaseous material that collects in a growing gravitational sense of group identity until it ignites in a sense of self in which, like the biochemistry in the brain, the hierarchical functioning of organizations is moderated to be excited or inhibited by the general population in which they function.

And, as from the smallest interactions of neurons to the largest interactions of our thoughts and feelings, it requires many levels to build a truly functional mind to the point of self-awareness, such as national identity.

Communication among members of the general population is the key to their ability to act as an analog to the biochemical influence in the mind.  Historically, increased communication outside the direct control of the organized neural networks (or socio-political groups) is an essential attribute to the freedom to form complex wave patterns (densities of opinions) which are sufficient to cause a group to act where it would not have by its own internal structure or to not act when it would have.

This is the nature of lobbyists, and of boycotts, and anti-boycotts in which the general unorganized components of society show their support or opposition to what the organization is planning or doing, just as the biochemistry affects the neurons and neural networks.

While communication had previously evolved to the point that many nations were able to achieve national identity, even today some nations have not yet coalesced into the level of self-awareness..

At an international level, everything from the formation of European Union to the Arab Spring illustrate the impact of internet and personal multi-media communication on the formation of identities for nations and even consortiums of nations.

But what of a global identity, a global group mind – the subject of this article?  Clearly, the very same dynamics are at work among nations forming as group minds within a larger global mind – cognitively through channels (network hierarchy) and affectively through the global population (analog to the biochemical) by means of direct global communication among individuals of different nations.

Currently, this process is awaiting the advent of real time language translation that is accurate and effective to the fidelity of resolving idioms of one language into appropriate idioms in other so that the affective content in maintained.

When this happens, communication of analog, emotional information among individuals from all parts of the globe will become a functional dynamic wave-driven system, and with its advent a true global identity will reach critical mass and ignite into what amounts to a planet-encompassing  self-wareness in which the earth itself may ponder, “I think, therefore I am.”

Melanie Anne Phillips
Co-creator, Dramatica

Defining and Identifying Personality Types

Wouldn’t it be great if we could have a list or a chart of all the major personality types in the world and all of their sub-types and variations?  And wouldn’t it be even greater if we had a means of finding specific personality types in the real world?

Why, we could make social networks even more fun and compatible.  We could build communities.  We could better organize our clubs, better target our political parties, better understand our neighbors.  We could improve advertising, more fairly judge punishments in court, predict what our adversaries might do.  In fact, we might even be able to find home-grown terrorist and mass killers before they strike.

Problem is, though there are many theories, classifications and tests for personality, while each sheds some light on the issue, few of them have much overlap.  Even definitions of “personality” show why, though we all can feel what personality is, we have very little understanding of what it is.

From Wikipedia:

Personality is the particular combination of emotional, attitudinal, and behavioral response patterns of an individual.

From Dictionary.com:

1. the visible aspect of one’s character as it impresses others:He has a pleasing personality.
2.  a person as an embodiment of a collection of qualities: He isa curious personality.
3.  Psychology .
a.  the sum total of the physical, mental, emotional, and social characteristics of an individual.
b.  the organized pattern of behavioral characteristics of the individual.
4.  the quality of being a person; existence as a self-conscious human being; personal identity.
5.  the essential character of a person.

From a narrative perspective, I believe that the nebulous appearance of the nature of personality is due to what we call in Dramatica theory the “blending of story structure and storytelling.”

As I often describe it, every story has a mind of its own: its own psychology and its own personality.  Its psychology is determined by the underlying dramatic structure and its personality is developed by the storytelling style.

Well, after all these years, I’d like to revise that a bit.  A story’s psychology is determined by the underlying structure and dynamics.  A story’s personality is developed by the subject matter and style.  A story’s persona is the combination of it’s psychology and personality.

You’ll note here that I have added a few things and rearranged the hierarchy around as well.  To begin with, I added the word “dynamics” to “structure” in defining a story’s psychology because structure only describes the arrangement of elements the drive a psychology, but dynamics describes the potentials, resistances, currents and powers that determine how those elements will rearrange in the course of psychological function.

In addition, I added “subject matter” to “style” for without something to talk about, it doesn’t really matter how you say it.

And finally, I added a whole new level that combines both psychology and personality into the story’s persona.  What is “persona?”  I intend it to mean the sum product of our (a story’s)  nature (structure), nurture (dynamics), experience (subject matter), and learned behavior (style).  In short, it is our interface with the world – in essence, our face to the world.

Here’s how other’s define “persona.”

From Wikipedia:

A persona, in the word’s everyday usage, is a social role or a character played by an actor. The word is derived from Latin, where it originally referred to a theatrical mask.

In psychology the persona is also the mask or appearance one presents to the world.

From Dictionary.com:

4.  (in the psychology of C. G. Jung) the mask or façade presented to satisfy the demands of the situation or the environment and not representing the inner personality of the individual; the public personality.
5.  a person’s perceived or evident personality, as that of a well-known official, actor, or celebrity; personal image;public role.

So, in essence, the persona is our public personality, while our true personality lies within.  But, persona is not devoid of any elements of true personality.  Rather, it is a filter and a manufacturer, hiding some things, creating others, continually adjusting the interface to maintain the least possible conflict with the external world while simultaneously minimizing the resulting internal conflict created between true self and presentation.

Well isn’t that a paragraph worth reading twice, I ask you!  (Yes it is, I tell you).

Suggested by all this is that existing methods of defining and anticipating personalities are insufficient and therefore inaccurate because, while they have the persona down pat, personality and psychology can only be inferred from observation of the interface and not by direct observation.

Now we’d basically be screwed if it weren’t for an extremely fortuitous aspect of Dramatica narrative theory – the concept of fractal psychology.  It holds the key to directly observing a story’s (or a person’s) psychology.  And once that and the persona are both known, the personality can be calculated as the differential between the two.

Bear with me now as I take us on a little journey into the workings of fractal psychology, which will eventually lead us to a means of discovering the true underlying personalities of people both as individuals and in groups of any size.

Fractal psychology is the notion that when we gather in groups for a common purpose or to address an issue of common concern, individuals begin to specialize psychologically in terms of their function within the group.  One will emerge as the voice of reason while another will take a skeptical position, for example.

The value of this specialization is that it brings greater fidelity in exploring the issue than would be achieved by having all members of the group be general practitioners, each trying to look at the problem for all perspectives, including our examples of reason and skepticism.

In a nut shell, each of these specialties is a function we have available in our own minds.  By specializing, an individual gains value and potentially power.  And, the group gains greater insight and capacity.  So, driven by the personal motivations and collective benefits, any group of sufficient size will eventually self-organize into what is, effectively, a functional analog for the operating system and methodology of a single human mind.

And this means, the inner workings of psychology are mirrored in the definable and predicable externally observable world of human social organizational interactions.  Now isn’t that a concept worth savoring!

Obviously there are a virtually unlimited number of applications one might create if you could define that system and use it not only to understand the workings of social groups, but also of individuals as well by projecting the system back into the minds from whence it came.

Nice dream, but how do you actually discover and document the elements of this organizational system?  And even more challenging, how about the dynamics that describe the forces at work in such a system?  They are harder to see, and even more difficult to quantitatively define.

Tough task.  Where should we begin?  Well, fortunately, someone already had started the process.  Who?  Authors and storytellers, as unlikely as that seems.  You see, the reason for fictions is to look at human relationships in the hope of finding some repetitive patterns from which we might draw truisms that we can apply in our own lives.

If human interactions were truly chaotic, this would be a hopeless endeavor.  But, since humans self organize into predictable patterns, these can be documented, and in fact they have been.

Literally thousands of generations of storytellers, in their attempt to reflect the reality of the human condition gradually refined these organizational interactions into the conventions of narrative structure and dynamics that we know today.  And they carried the process quite a way along – but not all they way.

Without the understanding that organized human systems represent or mirror the functioning of a single human mind (we all it a Story Mind), there was no framework upon which storytellers could hang their collection of human elements and drives.  They lacked a unifying perspective that could congeal the components of their understanding into a cohesive functional and predictive model.

And that is where we came in.  Armed with our Story Mind concept, we recognized that framework, and seeing what it was, were able to further refine it into the Dramatica theory of story.

Let’s pause for a moment to take stock.  In documenting the human condition, generations of storytellers identified many of the consistent elements and forces that define the way people relate.  Because people in groups specialize and eventually self-organize into a system functional identical to the psychology of a single human mind, we were able to refine narrative conventions into an accurate model of the mind itself, at the level of psychology, below the level of personality.

Fine.  We have a model of the mind.  Now what does this enable in terms of defining and identifying personality types?  To answer that question, let’s first take a look at the limitations of current approaches and then lay out how the Dramatica Theory can transcend those barriers.

Recall, early on in this article, that I mentioned the triumvirate of psychology, personality, and persona?  Fact is, no one can ever directly observe any of those three except the persona – the mask, or publicly presented face of an individual or group.  Psychology and personality can only be inferred.  But since persona almost always is intentionally or at least unintentionally misleading, any inferences made from it are generally fuzzy and inaccurate at best.

If it weren’t for fractal psychology, for the model of the Story Mind, there’d be no getting around this.  Yet with this model, we are able (essentially) to subtract the Story Mind component from the persona, leaving the pure personality behind.  In plain speak, if you know the mask, and filter out the psychology, what is left is personality.

Now because personality (which consists of subject matter and personal or group interest) is built on top of psychology, it all falls into those cubby holes defined by the psychology.  And this means that personalities fall into types.

The key to understanding how this works is to recognize that we all have the same psychological components, both structural and dynamic, but how much emphasis we give each one, how often we use them, this is determined by the subject matter and our interest in it.

So, while psychology alone can tell you about an individual’s or group’s mind set, and personality alone can tell you about an individual’s or group’s interests, it is the combination of the two that defines the true kind of type we ought to be defining.  In other words, any given mind set (Story Mind) is neither good nor bad until it is applied to a particular real world subject.

Conceptual example: Is it moral to steal?  No, if you are simply greedy; yes, if you are trying to feed your starving baby by taking from a tyrant who is hoarding all the food.  It all comes down to context.  Again, one psychology is neither good nor bad, until it is contextualized by personality (subject matter in which it operates).

And so, if we want to identify who is going to bring a gun into a theater and kill dozens of movie-goers the visible persona mask will not tell us, no matter how much number-crunching statistical data or tracking of purchases we do.  But if we combine the interest in particular subject matter with specific psychologies, we can, in fact, predict the dangerous personality.

Further, if we look back at the historic record of the kinds of personalities we wish to become aware of before they act, we can determine their Story Mind psychologies and independently determine their subject matter personalities, and then statistically determine which combinations of the two appear over and over again in those who eventually act.

My expectation is that such a study and analysis would produce several different combinations of psychology and personality matching, each of which would represent a different “type,” though in the end all of those types might end up acting in the same way.

In this manner, a variety of different templates could be applied to the general population of individuals or even of organized groups, to identify those which may ultimately cause problems for society as a whole.

Preventive vigilance or Minority Report?  You decide.

Melanie Anne Phillips
Co-creator, Dramatica

Narrative Dynamics 6 – The Grand Unifying Theory of Everything

Okay, so this is where I go a little nutso.  Yeah, I know…  But I’m going to be crossing the line that will prevent anyone from every taking my theories seriously again.  Because I can.

Here’s the scoop….

The Grand Unifying Theory of Everything is:

The degree to which something exists is variable, and we perceive this as time.

There.  I said it.  And I believe it with all my heart.  But what the heck does it mean?

It is a recipe for converting space into time and vice versa.  It provides a map of the interface that stands between structure and dynamics, mind and matter, order and chaos, existence and oblivion.  It is Einstein’s equation coupled with the Story Mind.  It is the understanding I have been seeking for more than half a century.  It is the culmination of my life’s work.

Here we go….

Go back to the Greek philosophers.  Is there the prefect form of a things already in our heads, like the shape of a table or the essence of a bed, and we seek to achieve it in the material world, or do we create function in the real world, by building tables and beds, and from this arrive at a conceptual form to enclose a variety of things with similar criteria?  In an overused phrase does form precede function or vice versa?  This is another structural/dynamic paradox, for it depends upon perception: one man’s table is another man’s bed.

As in my last article, “The Interface Solution,” both form and function depend upon context, where one places the line, what one considers inside or outside the group.  In short, we draw a circle around a number of things or attributes of a concept and define all that is inside as being of that nature and all that is outside is not.

Is a bed a mattress, a board, the ground?  Can a table be a bed?  Can a bed be a table?  Of course they can!  It all depends (from one philosophy) on what you use it for, and (from the other) on what you intended it to be.  Both are correct, but not at the same time from the same perspective.

And then there’s the matter of time.  A table may be made of stone or plastic or wood.  Take a wooden table.  One it was a tree.  Some day it will dissolve into its component elements.  When, exactly does it stop being a table?  When you can’t use it as one any more or when you can’t recognize it as one any more?

Nothing exists absolutely.  It only exists to a certain degree.  Similarly, nothing does not exist absolutely.  It always has the potential to become more fully what it has the potential to be.

Hence, the first part of the Grand Unifying Theory, “The degree to which something exists is variable.”

Now, imagine for a moment that time does not exist at all. Rather, there is only an ongoing rearrangement of how firmly anything exists.  Everything has the potential to become anything else or to stop being anything at all.

This smacks of quantum theory which has described quanta as “vibrating packets of probability.”  But as we have seen in my last article, a packet would have to be a closed system and no system is ever truly closed.  Nor is any system ever fully open.  It is all a matter of how we choose to perceive it.

Change, then, from being to not being or vice versa, from falling within a set or outside of it, from being open or closed, is a matter of perception.

Hence, time is not required to exist in the external world.  All that must be is change in the degree to which something exists, which is then interpreted as a pathway that spawns the notion of causality.

Which leads us to the second part of the Grand Unifying Theory, “and we perceive this as time.”

The inference is that there is no time without perception, just as there is no existence.  But perception alone is not sufficient to account for existence, for we must have something to observe in order to contextualize it as this or that, before or after.

The ramifications of this contention are that all we can know is a combination of change and awareness.  We do not exist without the universe and it does not exist without us.

The essence of all this is that it requires both universe and mind, in perpetual equilibrium, ever re-balancing through endless process and endless reconsideration.

Deal with it.

Melanie

Narrative Dynamics 5 – The Interface Solution

Sometimes the solution to a problem comes from a most unexpected source.  Often, there is no relationship between the subject matter of problem and solution, but rather a dynamic resemblance, an analogy of system or operation.

A case in point is when I solved the mystery of the erratic sequential patterns that were created when plotting the order in which acts and scenes progressed through the four items of the quad.

The problem was that while we had it right that all four dramatic items in each quad would show up by the end of a story, when we drew that order on the quad it made one of three patterns: a U or C shape, an N or Z shape, and a hairpin shape.  And what was worse, the sequence could go in either direction along the pattern.

We struggled with this for weeks – trying all kinds of ways to predict which pattern and direction combination would show up and not making any progress at all.

And then, one weekend I took my daughter to L.A.’s Museum of Science and Technology where they had a display of line of twenty-one bar magnets in a row, end to end, each on a spindle on a board.  By turning the first one at just the right speed, you could get it to turn the one next to it, and if you continued this process, with a little practice, you could get all twenty-one moving at the same time.

And then it hit me – the sequences in Dramatica shouldn’t be plotted on the fixed structure.  Rather, the structure was actually mobile – the elements twisting and rotating in response to the tensions of the story.  The pattern was actually linear, but when the quads all wound up like a Rubik’s Cube, that straight line was warped and distorted into the three patterns we had observed.

Ultimately, this lead to the whole set of algorithms that allowed the pressures upon a story structure to determine predictively the order in which elements needed to be explored in order to accurately reflect the tensions involved.  In other words, seeing that simple display of magnets in the children’s area of the museum became a whole new theory of how space and time relate in the mind.

Well, that is also how I came to crack the problem of the Interface Conundrum of Narrative Dynamics.  And here is how it happened, and then its ramifications:

Teresa and I were hiking near our home in the mountains.  She was describing how her father was a strict authoritarian and she wondered if her sister (whom she had not seen in many years) had raised her children the same way or had taken the opposite tack.

We began to speculate as to what it was that determined if a child would act as a parent or do the opposite in all kinds or areas, from child rearing to career choice, to lifestyle.  And then Teresa said that perhaps it had to do with memory – if we hold on to our memories we do the same, if we let them go, we do the opposite.

This didn’t ring completely true to me, so I suggested that even if we let go of our memories consciously, that doesn’t mean we also let them go subconsciously.  So we have four combinations in which one lets go or does not consciously couple with those same two states subconsciously.

As we continued to talk, I began to wonder though, what was the force that would actually propel one to change, especially in a situation where one let go of memory in one realm only to be counterbalanced by holding on to it in the other.

Now it began to really bug me, because this harkened back to that incredibly frustrating question that had bugged me since I was four or five years old (as described in “The Interface Conundrum) in which I wondered if there was nothing, would it be black because there was no light or gray because there was also no dark?

In the decades that followed, this question evolved into wondering what determined the exact moment when a light switch changed from being “off” to “on?”  And, of course, this led to Schrodinger, Zeno, event horizons, the uncertainty principle, and all sorts of binary states.  And here I come up against the damned thing again – my nemesis and old friend.

What was worse, I was hot in the middle of trying to understand the relationship between structure and dynamics in a narrative model of psychology so that I could expand Dramatica into a new analog, passionate, and time-based model.

As documented in The Interface Conundrum, one can think of reality as if it were a field of standing waves on a flat plane, as illustrated simply below:

peaks and troughsStructure is like a pane of glass that cuts through the mountains or the troughs horizontally, parallel to the plane, thereby creating slices of each tower or well that appears as a circle.

These circles are the particles we see from a structural perspective in which we seek understanding by looking at the patters of circles.

Dynamics is a vertical slice of the same set of standing waves so that we see the familiar wave forms such as sine waves, sawtooth or square waves of various amplitudes and wave lengths.

The problem is, that to get a complete view of either structure or dynamics, one must move the pane of glass through the standing waves like a scanning line until we have picked up the full width, depth, breadth and shape of each.

The bigger problem is that the universe is not really made of standing waves, but of waves of variable stability and duration, so that between any two moments, some are rising while others are falling, and at different rates.

Therefore, neither structure nor dynamics can see the true nature of reality, and even taken together, they are insufficient to describe this common interface between the two.  Hence, the “interface conundrum.”

In part four of my Narrative Dynamics articles, I outlined this and ended by saying that rather than trying to determine the nature of reality by exploring it through structure and dynamics, the only possible solution that would truly reveal the truth of the matter was to consider the nature and functioning of the interface itself, directly.  An entity from which both structure and dynamics (both space and time) are only byproducts, not building blocks.

And now we come back to my conversation in the woods with Teresa.  I thought about the patterns that became frozen in one’s mind due to the manner in which our parents raise us.  And then I expanded my thoughts to any kind of fixed pattern to which we have become mentally locked.

What is habit, what is selective filter, what truly is the nature and function of the preconscious that have already described in Dramatica theory as the fixed filters of our minds that are built half of instinct and half of experience, but freeze in place so that they mask observation before we perceive it?

A prejudice is like a black hole.  Energy enters but does not emerge, and once it is in place, it never dissolves but only grows to encompass and warp more of what it around it, farther and farther from the center of the original issue.

And yet, in the mind, people do change.  In stories they have leaps of faith.  I actually observed a leap of faith in myself for the first time about six months ago.  I was considering changing my mind on an issue.  But to be sure it was the right choice, I kept looking into that potential new point of view farther and farther to see as many of the likely ramifications as I could before deciding if I would commit to it or not.

And then, I suddenly realized I had leaned so far into examining that new perspective that I had actually adopted it while I wasn’t looking.  I never had the chance to make the choice, yet once I recognized it, I could not return to the old point of view.  In essence, it was like looking over the edge of a cliff to see the rocks below until one has unthinkingly passed the balance point and is now on the bottom with no way to return to the top.

This provided me with a case in point to something I had for some time suspected.  That no binary state can ever change from within – it requires another force from outside the system.  When does the light switch shift from off to on?  When the finger flips it.  What happens at that magic moment when it can be considered on instead of off?  Incidental, it is just a matter of the standard by which one chooses to measure the process.  In other words, there is no “off” or “on” merely the perception of one over the other.

Off and on are binary structural considerations.  The direction of the switch and its speed are dynamic.  The finger is chaos, as far as the closed system of the switch is concerned.  So, how do we determine whether a child will raise their children in the same or a different manner than a parent, if a character will take a leap of faith, if an individual will change, or if the answer is black or gray?

And then it hit me – just like the eureka moment with the magnets so many years ago.  The mind is a closed system like the switch.  It is stuck in one position by experience.  When the force that molded it remains consistent, that pattern freezes in the mind just like that plane of standing waves.  Even when the child grows, they are gradually weaned from that pressure so that the mold remains solid.  This is how it sets.

But if other life experience puts pressure on the closed system of the mind, it is like compressing a gas.  Think of this pressure as emotional tension created by inequities outside the home.  If it increases fast enough, it heats up the mind, just like a gas, thawing the frozen standing waves and softening them, making them pliable again – malleable – perhaps even liquidic at which point one would have no preference, no opinion, no bias in a particular mental realm.

Imagine then that a new interference pattern is created and sustained in such a matter that creates a new plane of standing waves.  These would naturally erode unless, pressure is suddenly removed to the overall mind, in which case, like a gas, the standing waves will freeze in place and remain, like another black hole – another bias – another preconscious filter – another complex motivation – another pattern of behavior.  And its shape and nature channels the forces that flow through the mind, generating both structure and dynamics as a byproduct.

What a simple and elegant solution.  The complex forces the press upon our minds create waves.  If overall pressure upon us decreases quickly, those wave will freeze in whatever pattern the pressures have maintained them.  If pressure is quickly increased, it will melt that motivating, guiding pattern to be moldable again.

Let us carry it to a slightly deeper level of sophistication.  Patterns may be not fully frozen but merely made slow-moving, like molasses, in any degree from wholly fluid to completely stiff.  Or patterns may be stiffened making them more resistant to change, or lock them into full blown high-amplitude fixations, or locking them into calm flat planes of no motivation that cannot be moved through any ordinary forces, placid until outside pressures increase fast enough to melt them.

Just like the magnets that needed to be at just the right speed, any other speed (of increase of decrease of pressure) only gets part of the job done.

Wow.  That’s what I thought, “wow.”  But what I didn’t consider was that while the mind (or a storyform Story Mind, for that matter) is a closed system, in the real world (in both physics and psychology) there is always a larger system in which a closed system exists.

No closed system is ever truly closed or it could never change.   It would establish either a stasis or eventually, if it exists long enough, establish a repetitive cycle, even if it is extremely complex.

This is good, for without influence from outside, there could be no finger to flip the switch and binary states could never change except alternately in cyclic repetition.

But here’s the rub.  The realm outside the closed system is not homogeneous which, if it were, would equally affect the entire interior of the closed system with a consistent pressure increase or decrease from all side equally and simultaneously.

It is because there are many closed systems in physics and many individual minds, that the pressures brought to bear on the standing waves within the system are not equally applied.  Rather, one area of our minds’ standing waves may be softening while other areas are stiffening.  And, in fact, counteractive forces from outside may cancel out each others effects in a single given standing wave area, or mitigate the effect of one or the other.

And so, we do not have just one complex motivational pattern that is freezing or thawing, but a multitude, an infinity, not limited to the number of our brain cells but to the almost limitless analog undulations of the biochemical and emotional systems of our minds, ever in flux, with currents and eddies, like weather patterns of different courses, strengths and durations which wash up against our neurons, easing the firing or inhibiting it as the standing waves rise and fall.

And so, in the end, the interface solution resolves the problem of the paradox of black or gray, because it is structurally black and dynamically gray.  And it solves the problem of a mind that cannot choose between two mutually exclusive but equally valid solutions by invoking the forces from outside the closed frame of reference for the thought problem by realizing that each solution is the only one, depending upon the external context.

While this addition to the theory (to my satisfaction) proves once and for all that there is no true certainty because there is always a higher or smaller closed system, it also provides a model of the nature and function of the interface itself, allowing us, for the first time, to determine exactly the operation and effect of one closed system (which is, in fact, truly open) and its surrounding external environment (which is, in fact, truly closed) upon one another.

In short, it describes how any closed system can be taken in conjunction with its surround open system to create a new closed system, and vice versa into the microcosms within the closed system as well.

And lastly (and I truly hope finally as well), the entire model indicates that none of this means anything without defining if a system is open or closed.  But since each system is both open and closed (depending on context), it is really a mater of perception.  And this infers that both the laws of psychology (and by extension, physics) simply do not exist without the mind, which must contextualize them.

In my usual arrogant audacity, I believe this model, this entire line of inquiry provides the essence of a Unified Field or Grand Unifying Theory of Everything:

The degree to which something exists is variable, and we perceive this as time.

Melanie Anne Phillips
Co-creator, Dramatica

Birth of a Story Mind

For those of you familiar with Dramatica, you know the term “storyform” means a complete narrative structure – the logical framework that makes a story make sense.

But where do storyforms come from?  How do they begin, how do they form, and for that matter, how do they end, dissolve or die?

A strange thought, to be sure, until you consider what narratives really are.  Simply put, they are rather precise models of the way people actually organize themselves in real life.

How does that work?  Again, very simply, each of us has certain qualities that come in pairs and often play against each other like our initiative vs. our reticence, intellect vs. passion, conscience vs. temptation, skepticism vs. faith.

When we try to solve problems on our own, we bring all of these into play to look for the solution with all the mental tools we have.  When we gather together in groups to solve a common problem, we’ve learned to specialize so that, for example, one person focuses on the intellectual component and becomes the voice of reason for the group.  Another focuses on the passionate aspect of the problem and comes to function as the group’s heart.

Whenever enough people come together with a common purpose, they will automatically self organize into kind of a group mind (we call it a Story Mind) in which each person comes to represent a single facet of all the different perspectives we employ in our own minds.

The end result is that groups naturally evolve into an external projection of our own internal minds.  The relationships among people in such a group function dynamically in a very similar manner to the way each of these perspectives relate in our own minds.

And authors throughout history, seeking to understand the nature and mechanism of human society, established the characters and conventions of story to parallel those very same aspects of the Story Minds we see every day in the real world.

So narratives are not just fictions that have no real bearing on human nature.  On the contrary, narrative structure and dynamics are perhaps the most accurate representation of how actual people organize and interact in the actual world.

While that, in and of itself, is both intriguing and practical, it begs the question, “If authors create structures for stories, how do such narrative Story Minds come to be in the real world?  In other words, can we understand the birth of a Story Mind?

Absolutely we can!  Let me lay it out.  It happens like a solar system forming.  People, in volume, are like the gasses and dust from which a solar system forms – independent units with no pattern to their movements.  When they gather together, they begin to organize, much like the dust collecting into particles.

First they form relationships of two.  And, like the force of gravity, the gregarious nature of human attraction draws other to join them until the gathering, like a collection of particles, forms a growing mass.

Naturally, there isn’t one mass, but a lot of different ones of different shapes and sizes scattered throughout the dust and gas or throughout the population.  From time to time they converge, sometimes changing each other’s course without directly coming into contact, and occasionally (and more rarely), they actually collide.

Depending on the size and shape of the two masses (or two groups of folk), they may combine, have parts stolen by one of the other, lose mass as it is calved off by the force of the encounter, or they might just shatter each other back into the dust, gas, or general population from whence they originally came.

In time, the number of conglomerate groups will decline as more and more smaller ones are absorbed into a handful of larger masses.  And meanwhile, most of the gas gathers more and more densely in the center until it reaches a critical ratio of frictional heat and material until it ignites in a ongoing sustainable reaction that generates energy from the center of the solar system outward to the planets.

Societally, this is when a central identity, a sense of common self, forms in the middle of all the society groups so that while each has its own identity, the is a collective identity as well, such as in a political party made of factions or all the states in the United States feeling a national identity as being part of America.

Since societal organization mimics the mind, projected outward, then this sun at the center of the solar system must also have some parallel in the human mind.  And it does.  It is our sense of self – the “I” in “I think, therefore I am.”

That self-wareness that resides in each of us is not a facet like our intellect or passion.  Rather, it is the energy source at the center that holds all of our facets in stable orbits and around which they all revolve.

And, in a Story Mind in the real world, it is the group’s collective identity that functions as its sense of self so that all members feel a commonality as part of the whole.  I am a Virginian, or I am an alumnus of USC, or I am a Sci-Fi fan, are all statements of sharing an umbrella identity with all other members of the same group.

Naturally, a person can be a member of several groups at once.  And so, they shift between one sense of identity and another whenever their activities or involvement move from one realm into another, just as the moon orbits the earth but also revolves around the sun and also around the galactic center.

When these multiple allegiances are nested, it functions rather smoothly.  In terms of the birth of a Story Mind, people from the general population form groups.  And then, these groups come to work together on an even larger issue, each group will eventually specialize so that one group becomes the voice of reason for the confederation while another evolves into the passionate voice of the confederation.  In time, a star will form at the center of the confederation, creating its own identity as well, so that one may be a Virginian and also an American simultaneously.  In this example, each state will have its own Story Mind, its own narrative, and they will also each be part of a larger narrative of the nation and its Story Mind.  We call this phenomenon fractal psychology, as it describes how the dynamic structure of a single mind is replicated in a series of nested psychologies of progressively larger confederate groups.

Sometimes, in the real world, things build from the grass roots up, starting with individuals, then creating associations, factions, movements, parties, local governments, regional governments, and ultimately national governments.  Even the planet as a whole is a Story Mind Narrative with its own global sense of self in which we all share.  And the nations of the world jockey to specialize as the different aspects of a single mind’s problem solving psychology, thereby establishing their own national identities and also contributing its unique spin on the issues that affect all of humanity.

Other times, in chaotic social environments such as after natural disasters, war, or revolution, Story Mind narratives may form at several levels at once.  But in either case, until that critical mass is reached in which the central star ignites in any group, thereby establishing a common sense of self for all its members, there is no organized functional narrative – no Story Mind.

Still, we can see the elements of a potential future mind begin to congeal as individuals and factions form into stable, definable attributes of the mind – the building blocks at an elemental level that will ultimately gather into families of like components that we recognize as the high-level aspects of psychology from faith to temptation.

In simple terms, Dramatica theory includes something of  Periodic Table of Story Elements called, not surprisingly, the Dramatica Table of Story Elements.  It had four levels.  The top level names the largest aspects of our minds into which we tend to categorize our thoughts – essentially, the biggest families of thought that go on in our heads.

Each of these is subdivided in the next level down into the smaller cognitive components that make it up – sub-families within each top-level family of cognitive function.  By the time we get down to the bottom level of the table, we are dealing with the elements – specialized mental functions that are the smallest we can perceive within ourselves as separate definable kinds of thought.  These elements are the tiniest building blocks of a story mind that have any real meaning for us as a comparative to our own internal attributes and processes.

So, in a chaotic social environment, we will first see the formation of elements within any potential Story Mind at whatever level we are exploring (from local to national).  Until all these essential elements are represented by some individual or group, even if the individual or group represents more than one, until they are all present there cannot be a complete narrative.

Yet, we can watch the elements form, and see the larger families form and those above them as well.  As they do, we can begin to get a sketchy sense of what the final nature of any potential Story Mind will be as more and more components gather and firm up into lines of energy that define dynamics that hold all the particles together into a narrative structure that is analogous to our own internal mental system.

But just as we can be member of multiple narrative minds when we are both interested in sci-fi an also Virginians or USC grads, so too in a chaotic social environment proto Story Minds may move through each other like galaxies colliding, disrupting (or perhaps enhancing) the storyforming process in each.

It is not until a Story Mind reaches that point of ignition that the gravity within it is sufficient to keep it stable against only a direct encounter or even a near encounter from another Story Mind, proto or complete.  Then, simple physics come into play to predict the result.  From psychology to physics in one sentence.  Sounds speculative.  And yet, it rings true to our understanding of both.

The specifics of how all this can unfold, the applications of how we might employ it to understand and perhaps even guide the emergence and evolution of narrative storyforms at all scales within our world – these are intriguing and powerful lines of inquiry.

But, for now, my purpose here was no more than to describe the birth of a Story Mind in the real world, and how that process is closely analogous to the formation of solar systems with the planets as characters and the star as the Main Character – the Story Mind’s sense of self with whom the audience identifies, through whom the audience experiences being in the story, and in the real world which provides the force of commonality that binds a narrative together.

Melanie Anne Phillips
Co-creator of Dramatica

New Category – Narrative Science!

For the convenience of all you narrative scientists out there, we’re gathering all our articles on narrative science from all over Dramaticapedia into a single category called (not unexpectedly )- Narrative Science.

We already have quite a collection there of some pretty heavy-duty reading, and will be sopping up lots of other pertinent articles form the web site, as well as posting all new articles on the topic.

So – wanna know what’s really going on inside your story (or your mind, or your story mind for that matter), check it out!

Narrative Dynamics 4 – The Interface Conundrum

Unlike my usual articles, this piece is not intended to document an existing part of the Dramatica theory nor to reveal a part newly developed.  Rather, I will be sharing my speculations on a life-long thought problem of mine and, toward the end, provide a new way of looking at some old issues.

The subject of this line of inquiry is that “magic moment” when one binary state changes into another.  To illustrate, consider a light switch.  We can tell when it is on and when it is off.  We can recognize when it has changed state from one to the other.  But what happens at that moment between the two when it is neither on nor off, or perhaps both?

This is really a restating of the uncertainty principal or even of Zeno’s Paradox or Schrodinger’s Cat, for that matter.  It touches on the potential for faster than light travel, black holes, and synchronicity.  But for me, personally, it is at the heart of the issue that has driven me since childhood with a specific curiosity that led to the development of Dramatica and still propels me today into my ongoing work on narrative dynamics.

For me, the quest began at age four or five – sometime before kindergarten – while I was on my swing set in the backyard of our home in Burbank.  This would be, perhaps, 1957 or early 1958.

I remember the moment as if it were yesterday, for it has motivated (plagued) me since it occurred.  It was a seamlessly gray overcast, that day, and as I was swinging I wondered if I could get high enough so that my entire field of vision was filled by nothing but that flat gray sky – no trees, no birds, not the neighbor’s houses nor the edges of my swing or its suspending chains.

So, I set about rocking myself higher and higher to the point I became fearful the whole contraption would collapse upon me, assuming I didn’t just fly off into space from the force.

Nonetheless, I persevered, and finally (fortunately) I rose high enough at the apex of the arc and for just one glorious instant I achieved my seamless gray experience.  As the swing set was by that time wobbling menacingly, I quickly brought myself back to rest.

And I sat there for a bit when a question arose in my young mind: If nothing existed at all, would it look black because there was no light or gray because there also no dark?  This is, of course, just another version of “if a tree falls in the forest,” but I had never heard that one, so this was news to me.

I pondered the question for a long time (for a child with a short attention span), thinking about it from both sides.  And then I had the thought that has haunted me and pretty much cast the cut of my jib for the remainder of my days (so far).  This unbidden query rose into my conscious mind: “Why can’t I figure out which it would be?”

Now that’s an awful thing for the universe to do to such an innocent kid –  a carefree (until then) child who might have just breezed through live with a 9 to 5 and weekends to play.  But once that thought was there, it would not leave.

I kept thinking about it, for days on end.  My first assessments were along the lines of, “Well it must be either black or gray.  Okay.  But why can’t I figure it out?”  You see it wasn’t the paradox itself that bothered me but the very concept of paradox – that my mind was not capable of discerning the answer, for I was sure there must be one.

In later years, I began to speculate whether God knew the answer to whether it would be black or gray.  Surely he must; He’s God, after all!  But if he does, then why did He make me in a limited sort of way, unable to see the truth of it.  And if that is the state of affairs, then how can I be sure of anything, for I’m not graced with the whole picture!  What good is it, then, to try and know anything, to try and find any meaning at all, for it is all based on a partial access to the capacity to understand the universe and therefore any conclusions are inherently suspect and likely to be overturned if we are given full access to reality when we die and go to heaven.  (Which was where my young mind took me at the time.)

Seeing the truth after death was my only hope, because if that was not the case, then I was by nature locked in a limited mind incapable of truly understanding the universe in which it existed.  Obviously, I paraphrase, but those exact lines of reasoning were coursing through my brain to me continual dissatisfaction.

So, being rather enamored of my own cognitive abilities at the time (a trait I’ve seen no reason to alter over the years), rather than imagining myself as a hero with super powers, I imagined myself as a hero with mental powers – the one individual in the history of the planet with the capacity to answer that blasted question: “Why is it that our minds are not capable of resolving paradoxical questions?”  Which later evolved into “What is the difference between observation and perception,” “How do logic and emotion affect one another,” “What is that magic moment between one binary state and another,” and, currently, “What are the physics of the interface between structure and dynamics?”

And so, you see, the same insidious line of inquiry vexes me yet today in my attempts to develop the dynamic side of the Dramatica theory and to describe how the two sides impact one another and work together – an analog of our reason and emotion, and the holy grail (as I see it) of both universe and mind and, quite naturally by extension, of the relationship between universe and mind.

Sorry.  I hadn’t intended to go into such a detailed back story, but my decades long frustration with this pesky query oft gets the better of me.

Having set the stage, let’s get down to the heart of the matter.  What can we know about this limit line or interface between structure and dynamics beyond which neither can venture yet which also connects them both so that they influence one other across that great divide?

peaks and troughs

Let’s visualize the interface.  Imagine one of those 3D computer images that shows a flat plane with peaks and troughs on it, like mountains and gravity wells – essentially round-topped cones like stalagmites and stalactites, above and below the plane.

Structure takes a horizontal cross section of the cones, as if a pane of glass were placed above or below the plane.

This cross section results in a flat image with a number of circles on it.  Each circle is seen as a separate object and its edges define its extent.  Taken together, the circles form a pattern, and it is that arrangement by which structure seeks understanding.

Dynamics takes a vertical cross section of the cones as if a pane of glass were placed perpendicular to the plane.

This cross section results in a flat image with linear wave forms on it.  Each curve is seen as a separate force with its line defining its frequency.  Taken together, the wave forms create harmonics, and it is that arrangement by which dynamics seeks understanding.

So on the structural side we have patterns made of particles and on the dynamic side we have patterns made of waves. Particle or wave, digital or analog, on or off, gray or black.  Between the two sides of any paradox is an interface that generates both and created by both.  Yet neither side can see the whole of it.

Just as if you look at a scene with one eye and then the other, you now have all the information you need to create 3D, but neither eye can see it alone.  In fact, only if both eyes are looking at the same moment at the same thing (space and time in synchronicity) can the  whole of the thing be appreciated.  But even then, it is only an approximation of the true three dimensional nature of what is being viewed, made up of a left and right slice merged together.

And herein lies the essence of the paradox of mind that has hung over my head for all of these years: structure gives us one partial view of a larger Truth and dynamics give us another.  Neither view is wrong; each is incomplete.

So what are we to do?  Or, more personally, how am I ever going to resolve this durn conundrum?  The answer is to create a model of the interface itself, incorporating both structure and dynamics not as a synthesis between alternative views but as full-bodied model of the true critter, inclusive but not limited to structure and dynamics.

Fine.  So how do we do that?

Well, you’ll just have to wait for “Narrative Dynamics – the Interface Solution,” coming soon….

Melanie Anne Phillips
Co-creator, Dramatica

Learn more about Narrative Science

Narrative Dynamics 3 – The Dramatica Model

In this series of articles, I’m documenting the development of a whole new side of the Dramatica theory of narrative: Story Dynamics.

Dramatica is a model of story structure, but unlike any previous model, the structure is flexible like a Rubik’s Cube crossed with a Periodic Table of Story Elements.  If you paste a story element name on each face of each little cube that makes up the Rubik’s Cube, you get an idea of how flexible the Dramatica model is.

That’s what sets Dramatica apart from other systems of story development and also what gives it form without formula.  Now, imagine that while the elements on each little cube already remain on that cube, they don’t have to stay on the same face.  In other words, though there will be an element on each face, which ones it is next to may change, in fact will change from story to story.

What makes the elements rearrange themselves within the structure?  Narrative Dynamics.  Think of each story point as a kind of topic that needs to be explored to fully understand the problem or issue at the heart of a story.  That’s how an author makes a complete story argument.  But, just as in real life, the order in which we explore issues is almost as important as the issues themselves.  At the very least, that sequence tells us a lot about the person doing the exploring.  In the case of the story, this is most clearly seen in the Main Character.  So, the order of exploration of the issues by the Main Character illuminate what is driving him personally.

The Dramatica model already includes a number of dynamics that describe the forces at work in the heart and mind of the Main Character, as well as of the overall story, the character philosophically opposed to the Main Character and of the course of their relationship as well.  But, in a structural model – one in which the focus is on the topics and their sequence, there are a lot of dynamics that simply aren’t easily seen.

For example, you might know that in the second act, the Main Character is going to be dealing with issues pertaining to his memories.  But how intensely will he focus on that?  How long will he linger?  Will his interest wane, grow, or remain consistent over the course of his examination of these issues.  From a structural point of view, you just can’t tell.

And that is why after all these years I’m developing the dynamic model – to chart, predict and manipulate those “in-between” forces that drive the elements of structure, unseen.  Part of that effort is to chart the areas in which dynamics already exist in the current structural projection of the model.

Two of these are Dramatica’s concept of the dramatic circuit coupled with the existing sequential plotting of the order in which issues are explored in every quad of the Dramatica Table of Story Elements.

Beginning with the dramatic circuit, Dramatica divides all the families of elements into groups of four.  Why?  Simply put, because our minds operate in four dimensions (mass, energy, space and time) our mental systems organize themselves in the same way (knowledge, thought, ability and desire).  Now how those internal dimensions reflect or relate to the external ones is thoroughly covered in many other articles.  But the point here is that all that we observe and all the processes we use to consider it naturally fall into families of four, which are continually subdividing into smaller families of four, each of which is called a quad.

Now quads have a lot of different aspects and relationships among the elements they contain.  For example, each element of a quad will function in one of the following for ways: as a potential, resistance, current, or power.  In other words, any functional family into which we might organize what we observe, and any family of mental processes the work together to find solutions or come to understanding will function as a circuit, not just as elements in a bag.

Which element functions as which kind of force is determine by the dynamics that act upon them.   Almost amazingly, I can say with some pride, the patented Dramatica Story Engine actually calculates which element is which part of the circuit based on the existing dynamics tracked by the model.  But, we’ve suppressed that output ever since Dramatica was first released nearly twenty years ago because it was just SO much information that it confused authors and also because we really didn’t know how to use that information in  those days.

The important thing is that the current model can provide this information.  And, since Dramatica is a model of the Story Mind (every story has a mind of its own in which the characters are but facets), it accurately reflects the structure and dynamics of our own minds.  And so, since the PRCP forces of all the quads taken together form a schematic of the mental circuitry of the mind itself, I decided to call the storyform (map) of each arrangement a psycho-schematic.  Pretty clever, huh?  But also quite useful!

The PRCP circuits of each storyform describe spatial aspect of a story or of a mind set.  But, it does nothing to illuminate the sizes of the potential or resistance or whether that force is increasing, decreasing or holding steady, and for how long.  And that is why I’m developing the dynamic model as described in the beginning of this tome.

But, if the PRCP psycho-schematic is the spatial projection of the mind, what about its temporal footprint?  That part you can actually see a tip of in the current Dramatica Story Engine: the plot sequence of the signposts.

Signposts are act-resolution appreciations of some of the larger elements in a Dramatica storyform.  Each represents sort of an overview topic – an overarching area of exploration that defines the subject matter and principal perspective of each act.  There are four signposts, each one being an element in one of the larger quad-families in the model.

Since all four items in a quad must be explored in order to fully understand the issues it covers, the question then becomes in what order will they be explored?  Fortunately, we were able to determine a conversion algorithm that became part of the Dramatica Story Engine that takes into account the spatial meaning of how the elements come into conjunction and use that to determine the order in which those elements will come into play.

While the specific are pretty darn complicated, the concept isn’t.  Just consider that meaning is not only dependent on what happens but also on the order in which it happens.  For example, a slap followed by a scream likely has a completely different meaning than a scream followed by a slap.  In the first case, the scream is because the slap hurt.  In the second case the slap was to stop the scream.  Different order; different meaning.

So, if you can calculate the meaning, which the Dramatica Story Engine can and does, then you can determine the order in which events must have transpired in order to create that meaning.  And that is why the plot sequence order is so important to a story making sense.  You can cover all the right bases, but if you hit them in the wrong order, the game is lost.

Now when we were first trying to figure out how the sequences were related to meaning, before we wrote the algorithm and built the engine, we started by plotting on our Table of Story Elements the sequence through each quad that we observed in functional stories that seemed to work.

We found that all possible patterns showed up.  There might be a circular path around the quad that could start at any element and progress in either direction.  There might be a Z or N pattern that zig-zagged through the elements, starting on any and going in either direction.  And finally, there might be a hairpin sequence that doubled back over itself in passing through all four elements of a quad.

But predicting which pattern would show up for any given quad, which element it would start on and which direction it would go – well, that drove us crazy.  We couldn’t make head or tail of it.

Then, we realized the plotting the sequence on the fixed Table of Story Elements was the problem.  We realized that the Table was more like a Rubik’s Cube as I mentioned earlier.  And what we discovered was the you could twist and turn the elements within each quad, like wheels within wheels, in such a way that these mixed up patterns all suddenly became straight lines.  And when we hit that arrangement of forces, we were able to create the algorithm that describes how outside forces work on a story (or mind) to wind it up, wheel by wheel, creating tension and thereby motivation, and directly tying sequence into the creation and existence of potential, resistance, current and power – how time is related to space.

Yet, here is where we ran into a limit.  Though this conversion of meaning into sequence and vice versa turned the model into something of a space-time continuum of the mind, we realized that from this structural perspective we could never calculate how much force or how fast a sequence.  And that, again, is why I’m finally breaking down and throwing myself into developing a dynamic model.

Still, a dynamic model, even if fully developed, would also run into the same limit from the other side, and therefore, just as in the uncertainty principle, you could know the structure or you could know the forces, but you could never connect them and know both the structure and the forces at work in it at the same time.

However (and I shudder to think about the other non-story scientific ramifications of this next part), we are beginning to see a means of operating both systems, structural and dynamic, simultaneously and in conjunction (in sync) so that we can observe both at the same time.  In other words, if you can’t see the dynamics from the structure nor the structure from the dynamics, then perhaps you can step back and put one eye on each at the same time.  Kind of a word-around to the uncertainty principle.

To do this, we first need to find the footprint of the dynamics on the structure, and a few weeks ago my partner, Chris, did just that.  He called me up to report that in the shower it had suddenly struck him that the three kinds of patterns we had originally charted on the table actually represented three kinds of waveforms.  Essentially, each point on an element is a high or low point in the cycle of a wave.  Pretty cool eureka moment!

So, as we often do in considering each other’s breakthrough ideas, I began to ponder whether those three waveforms were sine, square, and sawtooth (which is what they kind of look like) or whether they were the key point in the flow of sine, tangent and secant.  Direction through the quad would be indicative of sine or cosine, tangent or cotangent, secant or cosecant.  Or, it could determine whether the sine square and sawtooth started at the apex or nadir of their cycle.

Still haven’t made up my mind on that, and I’m half wondering if those two sets of three are really the same thing, just seen a different way.  After all, we already know that trig functions show up in many places in the Dramatica theory and model.  One place, for example, is that there are three kinds of relationships among the four elements of a quad.  The diagonal ones are called dynamic pairs, the horizontal are companion pairs and the vertical are dependent pairs.  Dynamic relationships among elements or characters are driven by sine waves, companion by tangents and dependent by secants.

You can understand the functioning of each kind of pair by their names – dynamic relationships are based on conflict, companion based on tangential impact (non-direct influence) and dependent are based on reliance.

Each kind of relationship has a positive and negative version.  That’s why there are two of each kind in each quad – one positive and one negative.  Positive dynamic pairs conflict but this leads to synthesis and new understanding, Negative dynamic pairs beat each other into the ground and cancel out their potential.  Positive companion relationships have good influence upon each other, like friends or, literally, companions.  But negative companion relationships create negative fallout on each other, not as a result of direct intent, but just as a byproduct of doing what one does.  And finally, positive dependent relationships are “I’m okay, you’re okay, together we’re terrific!”  While negative dependent relationships are “I’m nothing without my other half.”

That’s sine, tangent and secant.  And the direction or phase of of each wave form determine (and is determined by) whether the relationship is positive or negative within each quad.

But there is one final relationship in a quad that isn’t easily seen.  Are the elements of the quad seen as (and functioning as) independent units or are they functioning as a team, a family?

We see this kind of relationship in our ongoing argument about states’ rights.  Do we say, “These are the United States” or “This is the United States.”  Depending on your view on states’ rights, you’ll gravitate to one or the other.

Another example is when two brothers are always fighting until someone other person threatens one of them, in which case they suddenly bond into a family.  As the saying goes, an external enemy tends to unify a population.

So which of the trig functions describes this?  Well, since the Dramatica model uses all four dimensions of mass, energy, space and time we rather arrogantly figure that to describe the true relativistic nature of how all four relationships interact we’re going to need something one dimension higher than trig to describe it.  Twenty years ago at the height of our hubris we even named this new math quadronometry.

Regardless of what we call it, the effect would be to move imaginary numbers back into the real number plane so that when plotting a sine wave, on a cartesian plane, for example, you would no longer simply go ’round in circles as you continued past 360 degrees to 540 or 720.  Rather, additional revolutions would move up the z axis in a helix.        In other words, the Dramatica model is neither a sine wave nor a circle.  It is more like a “Slinky” toy – seen from the top is is a circle revolving around.  Seen from the side stretched out it is a sine wave.  But seen from a 3/4 angle you can perceive the actual helical nature of the spiral.  One more dimension, but a very important one.

And here is where chris contributed another new understanding to the theory that occurred to him in the same eureka moment in the shower that day.  He realized that this fourth kind of relationship in a quad was not about how the two elements in a pair interrelated.  Rather, it described how one of the three relationships became (transmuted or evolved) into another.  Simply put, how a dynamic relationship could become a companion or dependent one.  And in terms of math, how a sine wave could evolve into a tangent or secant.

Well, as you can see there’s not only one footprint of dynamics upon the structure but a whole slew of them – as if a whole herd or army of dynamics was stomping all over the structural ground.

And herein lies the key to connecting the coming dynamic model to the existing structural one.  These footprints are like the in interference pattern on a hologram as seen from the structural side.  When we develop the dynamic model, the same interference pattern will appear as standing waves with peaks and valleys determined by the interfering forces.  The material of the hologram itself, the actual interface, is the space-time environment created in the Dramatica model, and the mind, by its ability to perceive both space and time simultaneously, projects the light of self-awarenss through the interface to observe the resultant virtual image that emerges from the other side.

In this manner, the uncertainty principle is abrogated, at least within the closed system of structural dynamic narratives, and allow use to both fully observe and accurately predict the course of human behavior, in stories and in life.

Melanie Anne Phillips
Co-creator, Dramatica

Learn more about Narrative

Originally published October 10, 2012

Characters and Contextual Retribution

The minds of characters work very much like our own.

People think both in terms of time and of space.  Our time sense gives us the ability to predict what is likely to happen next.  Our space sense gives us the ability to determine what else (unseen) may be connected to what we do see.

For example, “one bad apple spoils the bunch” describes a time-based (temporal) causal relationship: given that there are a bunch of apples with one bad one in the bunch, it will inevitably lead to the spoiling of them all.  Of course, this is meant as an analogy to the effect on a group of people if one person of questionable character remains in their midst.

The space-based (spatial) equivalent is “where there’s smoke there’s fire.”  This phrase does not predict what will be, but describes a here and now connection.  In other words, if you see all the symptoms or indicators that something exists, then it exists, even if you don’t see it.  The concept of circumstantial evidence is based on this concept as well.

In fact, we base many of our social conventions on macroscopic projections of inherent human qualities amplified to the large-scale.  Not surprising since when we gather in groups, we self-organize into external dynamic replicas of the very same thought processes that go on in our own minds so that the group itself takes on a personality and develops a psychology, and members of the group come to specialize in (or represent) all the different principal kinds of thought processes we use within our own minds.  So, in a group there will be an individual who represents the voice of reason while another expresses passion and a third speaks a the conscience of the group.  In my continuing development of the Dramatica theory I named this phenomenon “Fractal Psychology.”

Now because we, as individuals think in both time and space, and because we organize our experience both temporally and spatially (i.e. “if this, then than” for time and “when this, also that” for space), we are constantly evaluating, both consciously and subconsciously, all that we encounter so that we might identify any instances of either of these two forms of causality in our experience base.  In this manner we are able to protect ourselves in the here and now from that we cannot see and in the future from that which has not yet happened.  Simple survival programming.

Normally, this works pretty well.  And though we sometimes make mistakes by misinterpreting or by not being aware of the larger context, overall odds are that temporal and spatial anticipation is more beneficial than it is harmful.  But, when we interact with others, this seemingly positive survival system can really mess up our relationships.

Here’s a typical scenario:

A conversation between two friends or family members is going along quite normally, perhaps even quite pleasantly.  One says something quite innocuous and the other responds with thinly veiled sarcasm or even a blatant barb.  The first person, feeling unduly attacked, responds with a flash of anger and before either party sees it coming, they are a heated argument or perhaps even a full-blown fight.  We’ve all see this and probably experienced it.  But where does it come from? Why does it happen?

This kind of conflict often stems from a disconnect between time and space.  in a nutshell, one party to the conversation is thinking about the interchange in a temporal way and the other is noting it spatially.  What does that mean?  Simply that while the flow of the conversation by one party may be harmless, a particular item of subject matter may be very close to a land mind buried in the other party’s psyche.  In other words, the flow of one person’s time has intruded upon the other person’s space.

As an example, suppose a pleasant conversation is about getting ready for some guest who are about to arrive.  Dinner is discussed, and bringing out the board games and a selection of movies.  Then, the conversation naturally, temporally, progresses to the kitchen counters which need to be cleaned.  The first person is simply going through all the things that need to be done.  But, the second person has a spatial connection to the dirty dishes because a week ago, the first person had, with some irritation,  requested that the second person stop putting the dishes into the sink without rinsing them.

There was no argument at that time.  The second person grumbled and made some retort that it was no worse than the first person leaving their towels on the floor in the shower all the time.  First person just shrugged it off an moved on but the second person stewed awhile about the dishes comment, feeling put upon and unfairly held to task.

Now, a week later, the second person still has a spatial sensitivity – a topical sensitivity not only to the subject of dirty dishes, but by extension to any chores that pertain to the kitchen area, thereby including the cleaning of counters.  While a mention of dirty dishes again would have elicited a harsh response, this tangential topical reference brought only a verbal barb in reply.  But, since that snappy response seemed unwarranted to the temporally thinking first person, they now felt unduly attacked by the second person and respond in kind.

To the first person who was thinking temporally, they now switch to spatial thinking so that their comment seems to them to be a fair and balanced response to unjustified irritation and levels the score.  But, to the second person who was thinking spatially about the topic, they now switch to temporal thinking and see a trend defining itself in which the first person will not let them balance the remaining emotional distress they had been carried.  Projecting that sequence, the second person now responds with even greater anger.

And so, both parties, switching between time sense and space sense, find themselves becoming angrier as the other person (while really just trying to even the score according to their own needs and assessments) keeps undermining their own attempts to establish an equitable balance within their own hearts.  Each roadblock to satisfaction layers more irritation upon the last, increasing the amount of compensation required to balance the books.

And, since both sides are alternating their consideration of the conversation both temporally (how it is progressing as each seeks the last word to achieve temporal equity) and spatially (what old wounds are being re-opened in the attempt to find spatial equity), like a brush fire the flames move more and more quickly and cover more and more ground, thereby increasing both the pace of the mutual attacks and the extent of the topics begin brought into play.

Usually such interchanges continue either until they burn themselves out or spark a fire storm so great it creates its own weather and destroys the relationship landscape beyond any hope of regrowth.

This is contextual retribution.  It is the attempt to seek equity that is justifiable in one of either space or time, but seems inappropriately out of context in the other.  Such conflicts lead to broken relationships, alienated family members, feuds, wars, and even ethnic cleansing.  It is human nature.  But it is also human nature to have a choice.  Each individual may choose to accept that there is more than one valid perspective, more than one valid context in which the world and all that happens in it can be interpreted.  Space and time, logic and emotion, male and female, your experience and the other guy’s – each is valid in his or her own context – as valid as your is invalid from their experience base.  If we can train ourselves to recognize the occurrence of contextual retribution when it happen, either in the other party or, even more important, in ourselves, we can interrupt the temporal and spatial escalation of hostilities, allow the dust to settle, and then find a common solution that will bring equity to all parties at once, thereby avoiding the downward spiral of one-up-man-ship.

Melanie Anne Phillips
Co-creator, Dramatica

Learn more about Narrative Psychology

 

Goals vs. Purposes

When defnining characters or groups of characters, it is important to differentiate between their goals and their purposes.  Goals are the specific set of circumstances the character of group hopes to achieve.  But purposes are the overarching conditions they hope the goal will bring about.

it is a misconception to think characters are ever driven to achieve goals in and of themselves.  For example, suppose a character’s goal it to become president of the United States.  Ask yourself why he would want to achieve that and you have his real purpose.  Using our example, this character might have had no power as a child and believes that by becoming president, he will satisfy that feeling of powerlessness.  Another character might want to become president because he believes that our moral values have eroded, and he wishes the bully pulpit so that he might reverse that trend.

You may note that while goals are very specific, purposes are more generalized.  This is because goals are based on our logic and purposes on our emotions.  So, one does not have a goal to be happy or to feel respected – those are purposes.  But, obtaining the love of another or becoming a captain of industry might be goals that would satisfy those two purposes, respectively.

Of course, any single goal might be seen as the means to arrive at any number of different purposes, depending upon the emotional needs of the individual (or the emotional needs of the group, as a group psychology).  Similarly, any particular purpose might be achieved by any number of goals, depending on the logistic circumstances and resources available to the individual or group.

In addition, while goals may be either  a single items everyone is after, such as several suitors trying to obtain the affection of the same girl, they might also be collective goals in which all the suitors are after love, but not of the the same girl.  Similarly, purposes can be conditional, such as to be happy, or they can be experiential, such as to enjoy every day to the fullest.

Structurally, you can find goals in the Dramatica Table of Story Elements in the second level from the top – the “Type” level, at which one finds such categories or families of goals as those pertaining to “Obtaining,” Doing,” “Becoming,” or “Being,” for example.  Similarly, purposes can be found at the very top level of the table – the “Class” level, where you will find “Situation,” “Attitude,” “Activities,” and “Manners of Thinking.”

In conclusion, look behind your character’s goal for the emotional condition that is really driving them to achieve the goal, and consider whether or not such a goal could actually bring about that condition or if your character is deluding himself and cannot achieve his purpose even if he achieves his goal.

~~Melanie Anne Phillips
Co-creator, Dramatica